Augenblick mal! 2001

Mittwoch, 9. Mai 2001 | carrousel Theater an der Parkaue

Thalia Theater Halle
Das große Heft
von Agota Kristof
aus dem Französischen von Eva Moldenhauer
Spielfassung von Sascha Bunge
Verlag Autorenagentur, Berlin
ab 16 Jahren | 165 Minuten

Director: Sascha Bunge
Stage and Costume Design: Constanze Fischbeck
Dramaturgy: Cornelia Nitzschke
Actor(s): Volker Dirkes (Offizier, Papierhändler, Chorist), Axel Gärtner (Pfarrer, Vater), Christine Gülland (Großmutter), Katharina Hauck (Zwilling), Peter Hartwig (Schuster, Grenzförster, Chorist), Wolfgang Hütter (Polizist, Chorist), Sofie Maruschka Hüsler (Magd, Choristin), Enrico Petters (Adjutant, Chorist), Susanne Silverio (Hasenscharte, Choristin), Andrea Ummenberger (Zwilling)
Projections: Lars Nickel

Synopsis:

Based on Agota Kristof's novel 'The Notebook', this production draws out a clear line of suffering – a childhood without idyll, coming of age in a dysfunctional world, all traces of humanity and love erased or grossly distorted. The protagonists are tw

Vote:

... Director Sascha Bunge, who also compiled the texts from Agota Kristof's novel for the Thalia Theatre production, wisely resists the temptation to put on stage the monstrous acts of violence found in the book. He knows better. For the greatest terror takes place in the heads of the audience members. Fountains of blood and shocking spectacles dwarf in comparison to the more profoundly twisted images produced by the human mind. This three hour theatre ordeal restricts itself to the spoken form. The performers deliver their lines with an icy chill, as if rattling off the evening news. It has a numbing effect. The atrocities become strangely palpable. When a hand grenade blasts a mother and her baby into a brew of flesh and bone, we keep listening. When the mentally retarded girl 'Hare-lip' is brutally raped twice, first by the pastor and then by a soldier, we shrug it off. Another entry in the notebook.

The reductionist performing style is starkly accentuated by the multi-layer stage composition of Bunge's set designer, Constanze Fischbeck. A peaceful slide projection – a lonely birch in an eastern European landscape. Film sequences from Walt Disney's 'Bambi'. Orchestra pit and light strip rolling across the steeply inclined stage. The disturbing emotions conjured up by the performance seem to dangle from the scenery like left-over scraps of flesh on bones. Sascha Bunge has skillfully implemented a homogenic, well-cast ensemble. The twins Katharina Hauck and Andrea Ummenberger are outstanding. The grandmother, played by Thalia Theatre doyenne Christine Güllard, is equally marvellous. A compact, mentally invigorating and engaging evening at the theatre. Bunge is not out to teach or moralise, only to show and report – all the more instructive the effect. At the end of the play, the twins' father, an opponent of the regime in rule, is released from jail. He wants to escape, to "the other country beyond the border". The twins send him out ahead. He is ripped to shreds by a mine, clearing the path so they can cross. Black. Only some banners flicker on... for a moment or two proclaiming their empty messages to the world.

Tristan Berger

Back to overview

amateurfetishist.com